Kylie Minogue's fizzy persona has always been perfectly captured in her dance-pop confections. A dash of disco, a swirl of electronica and a clever sense of kitsch have helped her maintain a 25-year career as a worldwide star. She's never reached those heights in the U.S. but has amassed a faithful stateside fanbase.

Earlier this year, “Timebomb” became her ninth topper on Billboard's Hot Club Play Chart, a place Minogue has been allowed to flourish. “The Abbey Road Sessions,” however, is a sharp turn for Australia's pop queen. Minogue has reworked her biggest hits into gentler, more thoughtful arrangements, backed by a band and full orchestra. The disc was recorded in London's legendary Abbey Road Studios and continues this year's “K25” celebration. (It's online and in stores today.)

Down-tempo makeovers can be a tricky thing. Artists run the risk of simply slowing down a song to make it sound different — a change for the sake of change, with no real reason behind it. The best moments here keep the original spirit of a song while unearthing fresh nuances. And it's to the credit of Minogue and the original songwriters that so many of these songs work in a new environment.

“All the Lovers,” one of Minogue's best tunes, is grounded in strings and drums but still soars on the perfect chorus. The electro-slide of “Can't Get You Out of My Head” morphs into a dark, obsessive symphony. Alt-rocker Nick Cave re-recorded his vocals for a fresh take on the 1996 murder ballad “Where the Wild Roses Grow.” The spare arrangement gives it an even darker vibe.

The full-band sound also breathes new life into “On a Night Like This” and enhances the previously unreleased track “Flower.” Minogue's vocals, unfettered by big dance-pop production, have room to breathe. She's alternately flirty and wistful, poignant and joyous.

Breakthrough hit “The Locomotion” gets a '50s pop makeover that doesn't stray far from the original spirit. “Love at First Sight,” however, becomes a completely new song. The bouncy disco is replaced by an earthy country vibe. It's as legitimate a country song as anything by Taylor Swift or Carrie Underwood (though I doubt Minogue will debut on CMT anytime soon).

A few too many songs — “I Believe in You,” “Come Into My World,” “Slow” “I Should be So Lucky” — are taken down to hushed arrangements that tend to run together. They might have been better served by punchier instrumentation that took things up instead. Still, there's unexpected beauty in the piano balladry of “Better The Devil You Know” and “Never Too Late,” which casts a new light on the lovelorn lyrics.

Minogue's next studio album will probably bring the beat back, but it's nice to know she can mix things up.